Afro Cuban Rhythms Drums

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Moore, Kevin (2009). Beyond Salsa Piano; The Cuban Timba Piano Revolution v.2 Early Cuban Piano Tumbao (1940–1959) p. 17. Santa Cruz, CA: Moore Music/Timba.com. ISBN 144998018X Top: 2–3 clave. Bottom: afrobeat guitar part. Play ⓘ Guide-patterns in Cuban versus non-Cuban music [ edit ]

Roberts, John Storm. Afro-Cuban Comes Home: The Birth and Growth of Congo Music. Original Music cassette tape (1986).Variation of Bembé with 3 Shekeres of different tones creating interesting rhythmic figures Toque de Guiro The first descarga that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club, Mario Bauza, Machito's trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play El Botellero composition and arrangements of the Cuban-born Gilberto Valdez which would serve as a permanent sign off (end the dance) tune. rumba clave] may have been the result of the influence of marching bands and other Spanish styles..."— Washburne (1995). [71]

One of the most difficult applications of the clave is in the realm of composition and arrangement of Cuban and Cuban-based dance music. Regardless of the instrumentation, the music for all of the instruments of the ensemble must be written with a very keen and conscious rhythmic relationship to the clave . . . Any 'breaks' and/or 'stops' in the arrangements must also be 'in clave'. If these procedures are not properly taken into consideration, then the music is 'out of clave' which, if not done intentionally, is considered an error. When the rhythm and music are 'in clave', a great natural 'swing' is produced, regardless of the tempo. All musicians who write and/or interpret Cuban-based music must be 'clave conscious', not just the percussionists—Santos (1986). [20] Clave theory [ edit ]Mauleón (1999: 4) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4. Two institutions that promoted rumba as part of Cuban culture –thus creating the tourist performance– are the Ministry of Culture and the Conjunto Folklórico Nacional de Cuba ('Cuban Nacional Folkloric Company'). As Folklórico Nacional became more prevalent in the promotion of rumba, the dance "shifted from its original locus, street corners, where it often shared attention with parallel activities of traffic, business, and socializing, to its secondary quarters, the professional stage, to another home, the theatrical patio." [35] Although Folklórico Nacional aided in the tourist promotion of rumba, the Ministry of Culture helped successfully and safely organize rumba in the streets. The most common clave pattern used in Cuban popular music is called the son clave, named after the Cuban musical genre of the same name. Clave is the basic period, composed of two rhythmically opposed cells, one antecedent and the other consequent. [d] [e] Clave was initially written in two measures of 2